scholarly journals How much is the glitch? Das digitale Paradigma als Herausforderung und Chance für die historische Musikwissenschaft

2020 ◽  
Author(s):  
Matthias Pasdzierny
Keyword(s):  
Digital Humanities ◽  
Critical Discussion ◽  
Literary Studies ◽  
Contemporary History ◽  
Music Culture ◽  
Historical View ◽  
History Of ◽  
Central Paradigm ◽  
Cultural Developments

Musicology has long since been established as central part of the so-called Digital Humanities. For many areas of music culture as a whole, digitization is considered the central paradigm of our time. But what exactly does this mean, and is it not unusual for technical and cultural developments to be thrown through and into each other? In literary studies as well as in cultural and contemporary history, a critical discussion has already begun on the multiple narratives and projections about „(post)digitality“, which are particularly common in science itself. Against this background, the article pleads for taking digitality seriously as an object of investigation in historical musicology (and possibly also in the history of musicology) and for initiating a corresponding field of research. For example, what promises and debates about loss associated with digitality can be observed within music culture at different times and in different contexts, but also what sources could provide information about this. The introduction of the CD in the 1980s and the emergence of the EDM sub-genre Glitch in the mid-1990s serve as starting examples for such a critical-historical view of and on digitality.

scholarly journals Toward Undogmatic Reading. Narratology, Digital Humanities and Beyond

2021 ◽  
Author(s):  
Janina Jacke ◽  
Mareike Schumacher
Keyword(s):  
Digital Humanities ◽  
The Other ◽  
Literary Studies ◽  
Present Volume ◽  
History Of Research ◽  
Research Communities ◽  
Look Back ◽  
History Of ◽  
Bridge Building ◽  
Digital Research

Both Narratology and Digital Humanities look back on a remarkable history of research and progress. One after the other, the narratological and the digital research communities evolved into large international and interdisciplinary networks. While cooperation between the two disciplines would be possible and beneficial in many areas, they often still work in parallel rather than together. A workshop at Hamburg University brought together Literary Studies researchers from Narratology and from Digital Humanities to (a) discuss requirements for and possibilities of a digital operationalisation of analytical categories from Narratology and Literary Studies and (b) theoretically reflect upon possible connections between more traditional and digital approaches. The present volume combines the workshop contributions from both disciplines and thus attempts to further the bridge-building and dialogue.

scholarly journals Towards Digital Histories of Women’s Suffrage Movements: A Feminist Historian’s Journey to the World of Digital Humanities

2020 ◽  
pp. 149-163
Author(s):  
Heidi Kurvinen
Keyword(s):  
Digital Humanities ◽  
Critical Discussion ◽  
Feminist Research ◽  
Gender History ◽  
Digital History ◽  
Feminist History ◽  
History Of ◽  
Digital Methods ◽  
Feminist Historian ◽  
Research Questions

This chapter discusses the various practical, epistemological and methodological issues of importance when a historical scholar with limited digital skills wants to take a step towards learning how to conduct digital analyses. As a feminist historian, the author combines this approach with a discussion of the relation of feminist research and digital humanities. In line with practice in feminist research, she uses a self-reflexive approach and asks how the increase in the understanding of digital methods influences research questions in feminist history. Do digital humanities tools transform the work as feminist historians? How can digital analyses develop the field of gender history in general and the history of feminism in particular? Can a scholar who has limited technological skills engage with an informed and critical discussion with digitised materials? In doing this the chapter provides an inside reflective history of the making of digital history.

On The Possibility of an Autonomous History of Modern Southeast Asia

1961 ◽  
Vol 2 (2) ◽  
pp. 73-105 ◽  
Author(s):  
John R. W. Small
Keyword(s):  
Southeast Asia ◽  
Contemporary History ◽  
The Past ◽  
History Of

It is generally accepted that history is an element of culture and the historian a member of society, thus, in Croce's aphorism, that the only true history is contemporary history. It follows from this that when there occur great changes in the contemporary scene, there must also be great changes in historiography, that the vision not merely of the present but also of the past must change.

The Guatemalan Genocide Through Indigenous Mayan Literature Twenty Years After the Peace Accords: Rigoberta Menchú, Humberto Ak´Abal and Victor Montejo

2017 ◽  
Vol 7 (1) ◽  
pp. 31
Author(s):  
David Caballero Mariscal
Keyword(s):  
Social Exclusion ◽  
Dark Period ◽  
Social Situation ◽  
Point Of View ◽  
Contemporary History ◽  
Rigoberta Menchu ◽  
Testimonial Literature ◽  
History Of ◽  
Peace Accords ◽  
Historical Truth

Guatemala experienced a cruel genocide in the early eighties, in the context of a repressive Conflict. Due to the different governments´ repressive policies, this terrible social situation was little known abroad, and even in the own country. Just after the Peace Accords, several organisms worked to uncover the historical truth. In any case, we cannot forget that testimonial literature is a privileged mean to know this dark period of the contemporary history of Guatemala. This genre is particularly relevant, because the main writers are originally Mayans, and have directly suffered both repression and social exclusion due to ethnic reasons. Rigoberta Menchú, Unmberto Ak´abal and Víctor Montejo represent a new and original point of view in the measure in which they describe feelings and situations from the perspective of those who experience them personally. Testimonial literature or the Testimonio becomes an ethnographic document that allows us to know not just a period but a people who have suffered from repression and exclusion for centuries.

Features of Development of the Black Sea Village in 1920s: Materials from the Black Sea Party Obkom Fond in the Documentation Center for Contemporary History of the Krasnodar Krai

2018 ◽  
pp. 1128-1136
Author(s):  
Olga V. Bershadskaya ◽  
Keyword(s):  
Rural Communities ◽  
Black Sea ◽  
Distinctive Feature ◽  
Agricultural Production ◽  
Political Development ◽  
The Black Sea ◽  
Contemporary History ◽  
Krasnodar Krai ◽  
Geographical Environment ◽  
History Of

The article studies features of socio-economic and socio-political development of the Black Sea village in 1920s. Documents from the fond of the Black Sea District Committee (Obkom) of the RCP (b) -VKP (b) stored in the Center for Documentation of the Modern History of the Krasnodar Krai allow not only to reconstruct the developments in the Black Sea village in the NEP days, but also to understand the nature of its evolution. Uniqueness of the Black Sea village was greatly determined by its geographical environment. There had formed a sectoral makeup of agricultural production: fruit-farming, viticulture, tobacco growing. Rugged relief forced peasants to form holdings or farms; therefore rural communities were rare. Its another distinctive feature was its motley national composition. Over 50 ethnic groups inhabited the district, among most numerous were the Russians, the Ukrainians, the Armenians, and the Greeks. In the first years of the NEP, the main tasks facing district authorities were to develop ‘high-intensity’ industries and to shape local peasant farms into food base for cities and resorts. While tackling these tasks, they had to deal with shortages of land and poor communications and to bring lease relations and work-hands employment up to scratch. The situation was complicated by socio-political inertia of rural population of the district that came from the absence of community tradition. Study of the documents from the fond of the Black Sea party obkom shows that local authorities were well aware of the peculiarity of their region, but in most cases had to follow guidelines set ‘from above’ to introduce all-Russian standards.

KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION

2020 ◽  
Vol 384 (2) ◽  
pp. 185-193
Author(s):  
A. Raimkulova
Keyword(s):  
20Th Century ◽  
Cultural Policy ◽  
Information Technologies ◽  
Cultural Landscapes ◽  
Social Institutions ◽  
Music Culture ◽  
Oral Transmission ◽  
Intercultural Interaction ◽  
History Of ◽  
New Type

At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).

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